September 1986

N.p. (Glasgow?): n.p. (Hughson Gallery), 1986 15 x 10.5cm, 2pp. Gallery issued postcard (who represented Margot Sandeman) with a reproduction of a painting by the artist based on a poem / "definition work" by her friend, and oft collaborator, Finlay. Each of the 11 painted works had Finlay's original hand-typed poem glued onto the canvas and Finlay later signed all the works on the back of the canvass to given them the status of a work by himself as a collaborator. There were 11 such paintings made.
The definition here reads:
SHEAF, n. a bouquet of corn, grasses, wild flowers etc in the likeness of a torch.
These works were forgotten about until a visit to Sandeman by Paul Robertson in c. 2008 brought them to his notice. Sandeman agreed to exhibit the works at Robertson's gallery and to produce an artist's book together reproducing the works. However within a week of Robertson's visit Richard Demarco found out about the paintings via his assistant who had also visited Sandeman and Demarco went to the artist (who he had known for many years) and took the works away with him when he left. Robertson was not able to exhibit them or publish the book. They were later exhibited posthumously to Sandeman's sad death at Summerhall by Demarco - ironically at a time when Robertson was the visual arts curator for the building.
VG+ - an unknown artist's card presumably because it was not published with Finlay's knowledge. Very scarce.

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Glasgow: Hughson Gallery, 1986
10.5 x 15cm, 4pp. Gallery issued postcard (who represented Margot Sandeman) with a reproduction of a painting by the artist based on a poem / "definition work" by her friend, and oft collaborator, Finlay. Each of the works had his original typed poem glued onto the canvas and Finlay later signed all the works on the back of the canvass to given them the status of a work by himself. There were c. 12 such paintings made.
These works were forgotten about until a visit to Sandeman by Paul Robertson in c. 2008 brought them to his notice. Sandeman agreed to exhibit the works at Robertson's gallery and to produce an artist's book together reproducing the works. However within a week of Robertson's visit Richard Demarco found out about the paintings via his assistant who had also visited Sandeman and Demarco went to the artist (who he had known for many years) and took the works away with him when he left. Robertson was not able to exhibit them or publish the book. They were later exhibited posthumously to Sandeman's sad death at Summerhall by Demarco - ironically at a time when Robertson was the visual arts curator for the building.
VG+ - an unknown artist's card presumably because it was not published with Finlay's knowledge. Very scarce.

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Little Sparta: Wild Hawthorn Press, 1986 18.2 x 14.1cm, 1pp Artist's card with an appropriated image of the dead or dying Marat on his deathbed with a sword labeled "I was a member of the National Trust" hanging like the sword of Damocles as a threat above him. The original David etching from which this was taken is used as a threat or suggestion to members of the National Trust because the organisation had published the Follies book suggesting Little Sparta was one such folly. VG+.

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Little Sparta: Wild Hawthorn Press, 1986
18.2 x 14.1cm, 1pp Artist's card with an appropriated image of the dead or dying Marat on his deathbed with a sword labeled "I was published by Jonathan Cape" hanging like the sword of Damocles as a threat above him. The original David etching from which this was taken is used as a threat or suggestion of how the publishing house might be found following their fall out with Finlay. VG+.

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Monchengladbach: Galerie Lohrl, 1986
15 x 10.5cm,2pp announcement card for a posthumous show of sculpture (planned before the artist's sudden death early in the year from a heart attack) with one work Halbzeit from 1984 reproduced on the front in b/w. VG+>

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